Ramin Djawadi Quotes
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I used to love American Westerns, growing up in Germany.
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I think a melody is a melody. And the way I usually start is I start writing my themes without even writing to picture to just try to find the tone for the movie or the TV show.
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There's so many great themes from the '80s: 'Magnum,' 'Miami Vice.'
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I used to just scribble things on a piece of paper whenever an idea would - came to mind. Now with cell phones. It definitely has gotten a lot easier because I can just take it out and just - I'll just sing into my phone.
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I love to do animation movies, and those might be some scores that are lesser known, unless you really kind of dig through my work and see.
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Really, I get inspired by just switching projects and instrumentation and things like that - that creative part of just being different every time is really what inspires me.
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What's so great with 'Game of Thrones' is that there are so many characters and they're so many locations and that it's just very inspiring.
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There's been a great development with scale on TV, but my approach is always the same across projects, whether it's a video game, a movie, or a TV show: I always try to set up my sounds and my themes. I really try to stay with the characters and do the storytelling through the music.
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I guess with any type of music or any art, there's always an evolution.
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With 'Iron Man,' I have to give Jon Favreau great credit for the score because he always said, from the beginning, 'Tony Stark is a rock n' roll guy.'
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When I write music, these colors pop out of me. It's hard to describe, but basically when I write music, I paint, and I add colors, and I add notes.
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I myself am a huge Radiohead fan.
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Performing was always something that I actually used to do before I settled in the studio as a composer.
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I like to have recognizable themes and sounds that really connect to the project and that you can identify with that particular project. My goal is always, 'When that theme comes on - even if you're not in the room - you hear it and say, 'Oh my show is starting, I gotta watch.'
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Absolutely, I'm living my dream. Yeah. My wife always jokes, says I'm a big kid, you know, playing in the studio and coming up with melodies and sounds. And, you know, I wouldn't know any other way because I just have music in my head all the time, and I just love it.
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I'm one of those artists who, if you'd let me tweak, would probably keep going and going, so it comes to the point where sometimes you just have to let go and make the decision, 'Okay, that's it.'
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We knew we wanted to have our own tone for the show. And then the big instrument that actually we came up with was the cello. It has a big range. It can play really low. It can play high. And it has a dark sound, and 'Game Of Thrones' is obviously - it's a dark show, and the cello became the featured instrument.
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Deep down, classical Romantic music is what I love: Brahms, Tchaikovsky, the Romantics.
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What I like about 'Game of Thrones' is that there's such a wide range. We have everything from very small, just solo instrument pieces, just the solo violin or solo cello, and then we go all the way to these bigger action moments.
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At the beginning of each project, I like to create a palette of sound for that particular project.
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When you know you have great support from the studio, that's a great feeling, and when it's the creative support, that's great.
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I always try to pick projects by: Is this something that excites me? What are the people like to work with? Obviously you spend a lot of time in a room together with them, so I always try to find projects that hopefully have great people attached.
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'Game of Thrones' offers such a wide range of instruments that I use and stylistically for what I'm doing, but 'Westworld' is the same.
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I don't listen to film music at all. I don't want to be influenced.